Paul Cummings: Director's Notes for Symphonic Band

The First Suite in Eb was composed by Gustav Holst in 1909. Along with his Second Suite in F, as well as the English Folk Song Suite by Holst's British contemporary, Ralph Vaughan Williams, the First Suite is considered to be one of the earliest masterworks for wind band. It embodies many of the attributes of British compositional style prevalent in the early decades of the 20th century, including clear formal structure, idiomatic writing for the winds, and a fondness for folk song style.

However, it is interesting to note that the rich melodic writing in the work is entirely original; that is, Holst did not borrow material from any extant folk songs. The fact that your ear may associate the music with folk songs may be attributed to Holst's close affinity for the style of indigenous British music, including his mastery of modal counterpoint.

While Holst is known as a thoroughly English composer, his family roots lay elsewhere. His father hailed from Germany, and the family name was von Holst until the outbreak of World War I when the composer decided that a German surname might have pejorative connotations in a time of war. It is not surprising, therefore, to find strong evidence of Germanic compositional elements in the First Suite. The best example of this is in the opening tune, an eight-measure ground bass that repeats 16 times in the first movement. This tune serves as the raw material, or melodic germ, from which virtually every other melodic idea is derived, not only in the first movement but also in movements two and three. Holst was familiar with the German practice of spinning out melodies from an initial melodic germ through his study of Bach, Mozart, and Beethoven.

Bernard Gilmore's Five Folk Songs for soprano and winds was composed in 1967 for the annual conference of the College Band Directors National Association. According to the program notes in the conductor's score, "it was inspired by folk recordings of Theodore Bikel and groups like The Limelighters." The work is one of the few pieces in the repertoire to exploit the combination of soprano voice with wind and percussion instruments. Obviously, there is a danger of overpowering the voice with the band's characteristically powerful sound, so it is easy to see why composers have avoided this merger. Much of the craft of Gilmore's work, therefore, lies in his judicious balance of voice and instruments. Rarely are all musicians performing at once, yet there is sufficient variety of dynamics and textures to create interest.

The work contains five movements, each of which is in a different language. This polyglot amalgam actually has roots in the Medieval era when composers would sometimes combine texts of two or more languages in the same motet. But the use of a multilingual text did not find its way into the mainstream of 19th or 20th century music, and it certainly imbues the Five Folk Songs with a maverick spirit. In order, the songs are in an Irish dialect, English, Greek, Spanish, and Yiddish. From the bouncy lyricism of the opening Irish tune, "Mrs. McGrath," to the playful, at times fitful, stops and starts of the final movement, "A Fidler," Gilmore's work is an aesthetic joy.

Of the many European marches that have found their way across the pond, Julius Fucik's Florentiner March is one of the most beloved. Composed in the "grande marcia Italiana" style, it captures the spirit of Italian opera while maintaining the simplicity and directness of expression typical of the genre. The eminent American conductor and champion of marches of all countries, Frederick Fennell, points out that Fucik's career as a military bandmaster was complemented by his skill as a composer of marches, which were the popular music of the time. And with Nationalism exerting such a powerful influence throughout Europe in the 19th century, it was quite natural for Fucik to join the many composers who were filling this niche of the musical marketplace. "Thus it is not surprising," Fennell states, "to find a Hungarian writing an Italian grand march and out-doing many Italians in the process!"


Paul Cummings conducts the HSU Symphonic Band, and the Humboldt Symphony. He is Assistant Professor of Music at HSU, and holds a California life credential in music. He is also an active performer on clarinet and saxophone, appearing with the Nova Vista Symphony, the Oregon Wind Ensemble, and the Master Sinfonia Chamber Orchestra. He is coordinator of the HSU music education program.